Coen Hissink

Coen Hissink in Oscar Wilde's “Salome” from 1917

Johan Coenraad "Coen" Hissink (born October 5, 1878 in Kampen , Netherlands ; † February 17, 1942 in Neuengamme concentration camp , German Reich ) was a Dutch actor and writer and a victim of National Socialism .

Life

Johan Coenraad, called Coen, Hissink attended the theater school for a year and began his stage career in 1902 at the Nederlandsche Tooneelisten. He took on his first role in the revue ' Die nieuwe haring' . In the following years he was a member of both touring stages and permanent ensemble theaters. Foreign guest appearances brought him z. B. to Antwerp . Hissink played mostly small to medium-sized batch roles in performances based on models by Charles Dickens , Robert Louis Stevenson , Gerhart Hauptmann (his carter Henschel ) and Oscar Wilde (his Salome ). In William Shakespeare's Hamlet , Coen Hissink took on several roles (priest, Fortinbras and guest of Hamlet's father), but also in his " The Merchant of Venice " (Solanio and Prince of Arragon). Coen Hissink also wrote a theatrical study in 1910, the yearbook publication “Louis Bouwmeester's Shylock-creatie”, about the last-named play, in which he had appeared in the 1907/08 season.

From 1914 onwards, numerous obligations from the then silent film were added for around ten years. There, too, Hissink played small to medium-sized character roles, for example a diver, a theater agent, a count and a fakir. Leading roles like the captain van Oort in " Hetkret van de vuurtoren ", the Henri van Dijck in " Levensschaduwen " or the café owner Balthazar in " Bloedgeld " remained the exception. In 1922/23 Hissink followed director Theo Frenkel to Berlin for a few films. Inspired by the attitude towards life in the German capital in the early 1920s, Hissink wrote another font, “Cocaine”. From the mid-20s, Coen Hissink concentrated again on stage work, but returned to the camera in 1934 after almost a decade of abstinence from the screen. His last film, the semi-documentary production "De laatste dagen van een miserable", shot in 1938, was only released in Dutch cinemas much late in 1942 due to the war.

With the German occupation of the Netherlands in the spring of 1940, the artist's long career came to an end; he received his last roles in the 1940/41 season with the Nederlandsche Filmspelers and the Ghesellen van den Spele . On December 13, 1941, the now 63-year-old Hissink was (presumably) deported from the Amersfoort transit camp to the Neuengamme concentration camp in Hamburg. There prisoner no. 06882 died two months later and not, as often stated, not until December 1942. The urn with the cremated body of Hissink was buried in the Ohlsdorf cemetery in the Hanseatic city, but in November 1952 it was reburied in a warrior's grave.

Filmography

• 1914: Een telegram uit Mexico
• 1915: De vloek van het testament
• 1915: De vrouw Clasina
• 1915: Ontmarskerd / De wereld
• 1915: Het wrak van de Noorzee
• 1915: The secret of the vuurtoren
• 1916: Levensschaduwen
• 1918: Het proces Begeer
• 1918: Pro domo
• 1920: Schakels
• 1921: Bloedgeld
• 1921: Menschenwee
• 1921: De zwarte tulp
• 1922: The man in the background ( De man op den achtergrond )
• 1922: a new life ( De bruut )
• 1922: Alexandra
• 1923: women's morality
• 1924: Amsterdam by night
• 1925: De cabaret-prinses
• 1934: Op hoop van zegen
• 1936: Merijntje Gijzen's Jeugd
• 1936: Klokslag twaalf
• 1937: De man zonder hart
• 1938: De laatste dagen van een eland (premiere: 1942)

literature

• Kay Less : Between the stage and the barracks. Lexicon of persecuted theater, film and music artists from 1933 to 1945 . With a foreword by Paul Spiegel . Metropol, Berlin 2008, ISBN 978-3-938690-10-9 , p. 173.

Web links

• Coen Hissink in the Internet Movie Database (English)

Individual evidence

1. ↑ the dying month of December, which can be read everywhere, is wrong . The archives of the Hamburg memorial on the former Neuengamme concentration camp site confirm February as the month of death